 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. And this is the first course. We begin our lecture with the recitation of the Mangala Charana. Vishvesham Satchidanandam Vandeham Yogilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya Vishvesham Satchidanandam Vandeham Yogilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya We are studying the Tattpurusha Samasa in this course in detail. We said that Tattpurusha Samasa is the most productive of the four types of samasas. Namely, a Veyi Bhava, Tattpurusha, Bahubrihi and Dvandva. Tattpurusha Samasa also has many sub-types in comparison with other samasas. Tattpurusha Samasa is also explained using numerous sutras in the Grammar of Panini in comparison with the other samasas. Be it Samasa Vidhyayaka Sutra or be it Samasanta Pratyayya Vidhyayaka Sutra or the Samasa Swara Vidhyayaka Sutra. The formation of the Tattpurusha Samasa can be summed up in the form of an equation, a simple one on this slide where we have X and Y, both independent and separate entities in terms of their meanings as well as the word forms as well as the accent. But they are interrelated and so the speaker of Sanskrit decides to merge them together and form another output in the form of X, Y. Now this X, Y is one entity having one meaning, having one word form and also one accent. In the Tattpurusha Samasa, Y out of X, Y assumes the position of the head. This is the by default position. So Y is the head and what it implies is that when X, Y becomes part of the sentence, then any other external word will be related to X, Y through Y, that is the head. If any other external word is related to X, Y through X without going through Y, then such a compound output is treated by the theory as exception and noted down as a Samartha Samasa. So far we have studied two subtypes of the Tattpurusha Samasa, namely the Vibhakti Tattpurusha in which we studied Dvitiya, Tritiya, Chaturthi, Panchami, Saptami and Shasti Vibhakti Tattpurushas in this order as stated in the grammar of Panini. Here we highlighted the fact that these Vibhakti Tattpurusha statements highlight that the Karaka theory forms the basis of the Samasa theory in general. Then we studied the Karamadharaya Samasa which is primarily a Samasa based on the coreferentiality as semantic relatedness governed by the Adhikara Samanadhi Karanena. Now in this lecture we will study two more types of Tattpurusha Samasa, namely Ekadeshi Samasa and the Naya Tattpurusha Samasa. Ekadeshi Samasa is actually part of the Shasti Samasa but because of the compound output this Samasa is treated separately, classified separately. So this is called Ekadeshi Samasa. Ekadeshi refers to the word Ekadeshin which means whole, Ekadesha means part and one which has a part is the whole. So this Samasa is stated in 2.2.123. The first sutra in this section is Purvaparadharottaram Ekadeshina Ekadhikarane. There are three padhas in the sutra. The first padha is Purvaparadharottaram. This is one-one and what it means is Purva, Aparadhar and Uttara, these words, these subantas. Now because they are mentioned in Prathama, by the sutra Prathama Nirdhishtam Samasa Upasarjanam they will be termed as Upasarjanam. And because of Upasarjanam Purvam they will occupy the initial position of the compound. The Purva Nipata will take place. The second padha in the sutra is Ekadeshina which is instrumental singular which means with the word which denotes a whole. Ekadeshina and finally Ekadhikarane which is 7 slash 1 which means in the sense of one substratum. So one substratum is denoted by the compound. So the words continued are Sup Sahasupa and also Samarthaha Padavidhi. So the meaning of the sutra is the following. Any Subanta whose Pratipadikas are Purva, Aparadhar and Uttara is compounded with any other interrelated Subanta which denotes a whole and if the compound denotes one substratum. I repeat any Subanta whose Pratipadikas are Purva, Aparadhar and Uttara is compounded with any other interrelated Subanta which denotes a whole and if the compound denotes one substratum. So the structure of this compound is the following. The Purva Padha consists of any of the four Purva, Aparadhar and Uttara and the Uttara Padha denotes the Pratipadika and the Uttara Padha has the Pratipadika Ekadeshina. And so in this case the output generated would be Purva, Aparadhar and Uttara, one of them and Ekadeshina as the other Padha, Uttara Padha. Now if you have the meaning to be expressed as Purvam Kaya is here where Kaya is the body, earlier part of the body that is the meaning to be expressed. Kaya means body, Purva means earlier part. Now Kaya is Ekadeshi referring to a whole and Purva is the part, Ekadeshya. Now in this case there is this avayabh, avayabh, bhavasambandha which is the semantic relation and so there is possibility of the compounding. So by this sutra Purva, Aparadhar, Uttara, Ekadeshya, Ekadeshya the compounding takes place and so we have Purva plus Su plus Kaya plus Gnas as the Alawika Vigraha. And then Pratipadika Saudhna takes place and then Supodhatup Pratipadika Yoho applies and Su and Gnas they both are deleted. So we have Purva Kaya as the finally derived compound output. This compound output is referring to only one element, Ekadeshi Karana and therefore all the conditions are fulfilled and Purva Kaya refers to the earlier part of the body, Purvam Kaya is here. Similarly later part of the body is the meaning to be expressed and we have the compound output generated Apara Kaya by following the same procedure. All the conditions are fulfilled. Similarly when the meaning to be expressed is below part of the body, the compound output generated is Adhara Kaya and when the meaning to be expressed is upper part of the body, Uttara Kaya will be the compound output generated. The next sutra is Ardham Napam Sakam 2.2.2. This sutra has got two padas, Ardham and Napam Sakam. Ardham is the Prathama Ekavachana of the word Ardha. What it refers to is the word Ardha. Ardha means half. But when it is in the neuter gender, it means exact half. That is what is being stated also by the qualifier Napam Sakam. Napam Sakam means in neuter gender. The words continued are Sup Sahasupa and Samarthapadavidhi. Also Ekadesina and Ekadhikarane. Ekadesina means with the word which denotes a whole and Ekadhikarane means in the sense of one substratum. What this means is that a Subanta whose Pratipadika is Ardha in neuter gender meaning exact half is compounded with any other interrelated Subanta which denotes a whole and if the compound as a whole denotes one substratum. I repeat, a Subanta whose Pratipadika is Ardha in neuter gender meaning exact half is compounded with any other interrelated Subanta which denotes a whole and if the compound denotes one substratum. So we have the meaning exact half of the Pipali. Pipali is the name of a plant. So exact half of the Pipali. Ardham Pipallyaaha. This is the Laokika Vigraha. Ardham Pipallyaaha. Now Ardha is part of Pipali. So there is avayava-avayavi relation between the two and so there is semantic relatedness. So we have Ardha plus Su plus Pipali plus Gnas as the Laokika Vigraha. Now Samasa Saudnya takes place because of this sutra and then there is obviously Pratipadika Saudnya and then the sub look happens because of Supodhatup Pratipadika Yoho. So we have Ardha plus Zero plus Pipali plus Zero and then we join them together and we get the output in the form of Ardha Pipali as the finally derived compound output Ardha Pipali. Similarly we can also have Ardha Koshataki as another output. The next sutra is Dvitiya Tritiya Chaturtha Turiyan Nyannyatara Syaam. This sutra has got two padhas. Dvitiya Tritiya Chaturtha Turiyan and Anyatara Syaam. This is two, two, three. So the first word is Dvitiya Tritiya Chaturtha Turiyan Nyannyatara. This is Pratama Bahuvacana meaning the words Dvitiya etc. Dvitiya means second, Tritiya means third, Chaturtha means fourth and Turya also means fourth. Because these words are mentioned in the sutra in Prathama Vibhakti, by the sutra prathama nirdhistam samasa upasar janam they will be termed as upasar janam and by the sutra upasar janam purvam they will occupy the initial position in the compound. The word mentioned is Anyatara Syaam which is an indeclinable and which means optionally. Words continued are Sup and Sahasupa, Samartha Padavidhi, of course and then Ekav Deshina with the word which denotes a whole and Ekadhikarane in the sense of one substratum. When we join these meanings together we get the meaning of the sutra. A Subanta whose Pratipadikas are either Dvitiya, Tritiya, Chaturtha and Turya is compounded optionally with any other interrelated Subanta which denotes a whole and if the compound denotes one substratum. I repeat a Subanta whose Pratipadikas are either Dvitiya, Tritiya, Chaturtha and Turya is compounded optionally with any other interrelated Subanta which denotes a whole and if the compound denotes one substratum. The option here indicates that in the same semantic condition the general Shashti Tathpurusha Samasa stated by the Sutra Shashti can also take place. So the Ekadhikarane can also occupy the initial position of the Samasa. So now we have the meaning second part of the arms and this is expressed by Dvitiya Miksha Yaha. Dvitiya Miksha Yaha. Once again there is avaya-bhavaya-vibhava sambandha also part and whole relationship. So there is semantic relatedness and so Samasa takes place. So we have Dvitiya plus Su and Bhiksha plus Gnas as Alawki Kavigraha. Samasa takes place. So then Pratipadika Saudnaya takes place and so Supodhatup Pratipadika jo applies and deletes both the Su and Gnas. So we have Dvitiya plus Zero plus Bhiksha plus Zero. When we join them together we get Dvitiya Bhiksha. This means exactly the same thing as Dvitiya Miksha Yaha. Now optionally we could also get Bhiksha Yaha Dvitiya M and then the process will continue. Bhiksha plus Gnas will occupy the initial position of the Samasa and so we will have Bhiksha plus Gnas plus Dvitiya plus Su. Samasa Saudnaya happens. Pratipadika Saudnaya happens and so Supodhatup Pratipadika jo applies and so we get Bhiksha plus Zero plus Dvitiya plus Zero and so we get Bhiksha Dvitiya as the finally derived compound output. Similarly we will also get when the meaning is third part of the arms we will get Tritiya Bhiksha or Bhiksha Tritiya M as the finally derived compound output. Similarly fourth part of the arms if this is the meaning then we will get Chaturtha Bhiksha as well as Bhiksha Chaturtha as the compound output. And in the same meaning we can also get Turiyabhiksha and Bhiksha Turiyar as well as Turiyabhiksha and Bhiksha Turiyar as the compound output. Even though the word Turiyar is not mentioned explicitly in the Sutra there is a statement which notes this town and adds it in this list and the statement is Turiyasabdhasya api ishya te. So we have these outputs. Now the point that is to be noted over here is that the first two sutras stating the Ekadeshi Samasa namely Purvapara Dharottaram Ekadeshi Naikadhi Karane and Ardham Napam Sakam they are stated primarily to have the Purvani patha of the words Purvapara etc. and Ardha. If Shasti Samasa happens then these words would be occupying the Uttara Pradha position. After having studied the Ekadeshi Samasa now let us study the Nayatakpurusha Samasa a very important variety of Takpurusha Samasa. This is stated by one sutra namely Nay 2-2-6. There is only one padha, nay in the sutra and this means negation and because this padha appears in the Prathama Vibhakti this will be termed as Upasarjuna and it will occupy the first position in the Samasa output. What Nay stands for is negation what it actually means is Tadbhinna Tatsadrisha. It is not negation absolute it is Tadbhinna Tatsadrisha. What it means is different than it yet similar to it. Words continued are Sup and Sahasupa and also Samartha Padavidhi. So the meaning of the sutra is Asubhanta whose Pratipadika is Nay or Nay meaning negation is compounded with any other interrelated Subhanta in general. I repeat Asubhanta whose Pratipadika is Nay meaning negation is compounded with any other interrelated Subhanta. So for example when you have the meaning namely somebody who is not a Brahmin but similar to a Brahmin. If this meaning is to be expressed we have the Laugika Vigraha Vakya as Na Brahmana. Now there is a semantic relatedness in the form of the co-referentiality also Na and Brahmana. So Brahmana means Brahmana Vinna and Brahmana Sadrusha. So now there is compounding that takes place so we have Na plus Su plus Brahmana plus Su. This is the Laugika Vigraha. Samasa Savvanya takes place because of the prescription of the compound by this particular sutra, Nay. Then Pratipadika Savvanya happens and then we have Subh look. So we have Na plus 0 plus Brahmana plus 0 by Supodhatup Pratipadika Yoho. Then there is one more sutra 6373 that applies Na Lopo Nayaha and this sutra deletes the consonant Na of Na. And so we have A plus 0 plus Brahmana plus 0 and so we have the finally derived output in the form of A Brahmana. Which means not a Brahmin but similar to a Brahmin. They refer to a person who is not a Brahmin. So the peculiar position of this negation marker Na is to be noted here. Generally in Sanskrit Na is negated with the verb and it indicates the negation of the verb. But in the process of compounding Na is always related with the Subhanta and in that case it always means Tadbhinna Tatsadrusha. So there is a statement in the tradition which says, Paryudasa Savidni Yo Yatrotara Padena Nay. So when the Na is related with the Uttarapada the meaning of Na is always Paryudasa characterized as Tadbhinna Tatsadrusha. When it is related with the verb in the sentence then there is another technical term used that is the meaning of Na namely Prasajya Pratishetha. It is the negation that is intended. Let us look at one more example of this sutra which also has some more sutras coming in playing different roles in performing some operations. So when the meaning to be expressed is different than a horse but similar to a horse referring to an animal. So we have Na Ashvaha as the Lavukika Vigraha. So Na means Na refers to Tadbhinna Tatsadrusha and Ashva refers to the horse. So both of them are referring to some entity. So they are semantically related and now there is compounding that can take place. So we have Na plus Su plus Ashvaha plus Su and so the Samasa Saudna takes place. The Pratipadika Saudna takes place and so then Supodhatup Pratipadika Yoho applies and so we have Na plus Zero plus Ashvaha plus Zero as the next stage in the derivation. Now we apply 6373 as we did in the previous example Nalopo Nayaha and then we delete the consonant Na which is at the beginning of the negation marker Na. So we get A plus Zero plus Ashvaha plus Zero. Now in this case another Sutra applies Tasmanut Achi 6374 which comes immediately after Nalopo Nayaha. Now we have A plus Zero plus Na Ashvaha. So this Na is added to Ashvaha and so now we have A plus Na Ashvaha and then we join them together and we get the form Anashvaha. This happens when the Uttarapada begins with a vowel. In the previous example the Uttarapada was Brahmana so it was beginning with a consonant so Tasmanut Achi does not apply there. But when the Uttarapada is Ashvaha beginning with a consonant Tasmanut Achi applies and we get the output in the form of Anashvaha. Where the Uttarapada takes the shape of Nashvaha after getting the consonant Na added. Anashvaha. There are some technicalities involved as well. Had Na been added to A seemingly Anashvaha would have been derived but then there will be some technical problems. The Sandhi rules would have applied and they would have added another Na in between which would have generated the output in the form of Anashvaha. So in order to avoid these situations Na is stated to be added to Ashvaha and that too in the initial position. Now there is a peculiar statement on this particular Sutra available to us. Nayo Nalopas Tingik Shepi. What it means is that in the sense of censure Shepi Na gets compounded with a Tinganta a verbal form ending in a thing and in this case the consonant Na gets deleted. This is very strange and very peculiar as the behavior of the speaker. So what it amounts to is that if you have Na plus Su plus a Dhatu plus Ting and then the output generated is Na followed by Dhatu plus Ting. So if you have the meaning oh cruel you do not cook. Na Pachasi Tvam Jalma. Now here Na and Pachasi they both are semantically related. There is Abhava of the action of cooking. So there is this Visheshana Visheshya Abhava. Now in this case they get compounded by normal procedure they would not get compounded because Pachasi is not a Su. But this is an exception and this particular statement precisely accounts for this particular exception. So Na gets compounded with Pachasi and then Nalopo Nayaha etc. would not happen because that happens only in case of a Subanta. So this particular statement is also stating that this consonant Na gets deleted. And so we get the output in the form of Apachasi and this is stated to be a compounded output. This is an exception. But the meaning understood over here is Kshepa. Only in Kshepa this kind of compound is allowed and this kind of compound is visible. To summarize Ekadeshi Samasa involves semantic conditions of the Shashti Takpurusha Samasa stated by the Sutra Shashti 228. The exception is because of the positioning of the Shashti, the Purva Nipata or the Para Nipata. In the Ekadeshi Samasa Shashti occupies the Para position and in Shashti Takpurusha Samasa it occupies the Purva position. The Nayatakpurusha Samasa happens in a given semantic condition of negation which means the Vinna and the Sadrusha. The Nayatakpurusha Samasa also presents a peculiar exception where a Subanta gets compounded with a Tinganta. These are the texts referred to and thank you very much.